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Art
Creed
5 min read

How the Creed connects us to a bigger history

Faint shadows in literature and dawning art give glimpses of greater things.

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

Painting of hand of God touching hand of Adam.
Sistine Chapel ceiling detail.
Michelangelo, Public domain, via Wikimedia Commons.

Singing the Nicene Creed on Sundays in Latin, a language I do not understand, does not detract from its meditative power. Admittedly not reading music, means attempts to pin the syllables to the blobs on the stave part company with the sounds of the choir and congregation, around the time we turn the sheet over, at ‘sedet ad dexteram Patris’. Sometimes I get back on track by ‘qui locutus est per prophetas’, and sometimes I wait until Amen. Either way it is a meditative experience, on a different level to day-to-day information processing. 

Even in a first language the Creed’s surface is oblique for the modern mind. This initial impenetrability accounts for why, outside the Church, celebrations for the Creed’s 1700th anniversary are niche.  

BBC Radio 4 is running a six-part series Lent Talks, with thinkers and theologians expanding on aspects of the text through personal experience.  

In the first episode theologian Frances Young perceived God’s almightiness in caring for her son Arthur, who was born with profound, life-limiting disabilities. Arthur’s presence in Young’s later-life, ordained ministry, underlined how almightiness is experienced through gentleness: “A hidden, elusive Loving and redeeming presence, gently transforming everything through sheer grace.”  For astrophysicist and theologian David Wilkinson, contemplating ‘That God made all things seen and unseen’, validated science as a Christian endeavour. Wilkinson recalled uncharacteristically hugging a fellow astrophysicist on a Durham street in 2015, at the news of the first direct observation of gravitational waves. The observation captured the earth moving a fraction due to a ripple in spacetime. Incremental glimpses of the workings of the universe serve as stepping stones to fully appreciating creation, and the awe of our place in it. 

Glimpsing a part of a concealed whole, leading to the understanding of greater things, features throughout the Bible. In the King James version of Hebrews we learn: “Who serve unto the example and shadow of heavenly things”. More modern translations use ‘copy’ instead of example. Endeavours on earth, done in the right spirit, can serve as a foretaste or shadow of heaven, of eternal life.  

While the language of the King James Bible offers all things to all men and is woven through literature, the Nicene Creed’s presence is scant. 

As a literary device, a part serving for the whole, or foreshadowing future events works in drama or poetry, but in novels there is less to see. Rectory-raised Jane Austen would have heard the Creed throughout her church going life, but church service scenes are missing from her fiction. Charles Dickens’ faith journey from criticising the established Anglican church of the mid-nineteenth century, to exploring Unitarianism, make the absence in his novels of the Creed, with its centrality of the Trinity, of a piece with his spiritual outlook. Raskolnikov’s glimpse of an icon in the pawnbroker’s home in Crime and Punishment, points to Dostoevsky’s greater ease with fragments momentarily illuminating the bigger picture: ‘in the corner an icon-lamp was burning before a small icon’. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief

Visual art's capacity for rendering the invisibility of the past, the distant, the imagination and the metaphysical, make it a more likely medium for extending the Creed beyond the walls of the church. 

In 1541 Pope Paul III allegedly fell to his knees in wonder in the Sistine Chapel, at the presentation of Michelangelo’s Last Judgement fresco on the altar wall. Michelangelo’s unorthodox, for the times, meditation on personal salvation depicted a cowering Virgin Mary, a beardless Christ, an unbiblical, pointy-eared Charon, the ferryman in Greek mythology, appearing in the underworld, and cascades of nude bodies tumbling towards their eternal fate. By the late1550s Michelangelo’s friend Daniele de Volterra was ordered to paint draperies on some of the naked figures, to correct indecencies. But the devout Michelangelo’s personal vision of the Creed’s ‘judge the quick and the dead’, had already been copied by numerous artists since its unveiling. Giulio Bonasone’s engraving, after Michelangelo, The Last Judgement, 1546, is just one example of the Renaissance artist’s contemplation of ‘the life of the world to come’, as he entered his seventh decade, taking flight into the wider world. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief. In turn of the century France, as the country underwent a Catholic revival, Gwen John was one of many artists working on making modern art full of religious meaning. Conventional paintings of the Annunciation show Mary with the Angel Gabriel, with the white-robed angel, spreading their wings. Drawing on her friend Rainer Maria Rilke’s poem Annunciation (Words of the Angel), John created an Annunciation scene, with no visible angel. In Girl Reading at the Window, 1911, a young woman in contemporary dress, is illuminated by light coming through the window, as is the white lace curtain, gently blowing out to touch her dress. Setting aside the expected haloes and wings, John brings to life the Creed’s teaching ‘was incarnate of the Holy Ghost and the Virgin Mary’. 

A dawning realisation heralding a far greater truth is also apparent in Emil Nolde’s Paradise Lost, 1921. In bright, unnaturalistic, colours and in a heavily outlined, naïve style, Nolde catches Adam and Eve’s expressions, as the full consequences of their banishment from Eden become apparent. A moment in time indicates the long road ahead to the promised world of the Creed. 

At the height of the Cold War in 1971, nearly three million Soviet citizens went to see Andrei Tarkovsky’s epic portrait of medieval icon painter Andrei Rublev, five years after the film’s original release. Despite censorship, monochrome projection and no posters advertising the screenings, people found a way to engage with a depiction of belief, creativity and a search for meaning, set against the viscerally brutal backdrop of Tartar pillaged,1400s Russia. 

In an age of Netflix narratives and individualism, connecting with the collective wisdom of churchmen in Constantinople from 1700 years ago can, unavoidably, feel like a stretch. But like the best art, the Creed offers the chance to step out of time, braiding us into us into the faith and vision of others, in ways none of us can understand. 

 

Listen to the BBC Lent Talks

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6 min read

Why is it taking so long to find an Archbishop of Canterbury?

The Anglican tortoise and the Catholic hare.

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

An archbishop raises a crown about the head of King Charles.
An archbishop in action at the 2024 Coronation.

It seems the Roman Catholics have put the Anglicans to shame by the speed with which they have managed to appoint a new Pope. Pope Francis died on Easter Monday, 21 April. Pope Leo was elected on the 8 May. Seventeen days. Pretty impressive. Very few large corporations would replace a CEO in that time, or nations elect a new leader.  

Justin Welby, however, resigned on the 12 November 2024. We won't know the name of his successor until the autumn, and that person won't start in place until the spring of 2026. Well over a year.  

The Church of England is playing the tortoise while the Roman Catholics are acting the hare. 

So why is it taking so long? Is this just fusty Anglican bureaucracy? A depressing instance of Anglicans taking ages over everything, whether sorting out our divisions over sexuality or choosing a new Archbishop? 

As always, there is more to this than meets the eye.  

The first thing to say is, of course, that events took everyone by surprise. Justin Welby would have had to retire before his 70th birthday in January 2026, and the assumption had been that he would announce the date at some point before then. A process was already in place to make the appointment so that a successor could be named before he departed and start soon after, as usually happens. No-one foresaw the events that led to Welby’s surprise resignation over his handling of the abuse committed by John Smyth, outlined in the Makin Review. In the usual course of things, there would have been a relatively smooth handover. What we have is unprecedented – a year with no Archbishop of Canterbury at all.  

There is, of course, the shambles at the Canterbury end, where the diocese has taken three abortive goes at electing their representatives for the body that makes the appointment, the Crown Nominations Commission. More on that here, but even that has not had a significant effect on the timetable, which is following its predicted course, despite bumps along the way. 

Even so, many will say, could the system not have been hurried up? Maybe so, and it might have been wise to find ways to hasten the process a little, but the more fundamental answer is that’s not the way the Church of England works and never has.  

The biggest reason is that the Church of England and the Roman Catholic churches have different understandings of what the Church is and how it is governed. In short, the Archbishop of Canterbury is not the Anglican equivalent of a Pope. 

Back in the days of the English Reformation, after Henry VIII’s ego-driven separation from Rome, which enabled him to divorce his wife who was unable to give him a male heir, and marry the younger and prettier Anne Boleyn, the English church found a kind of settlement under Queen Elizabeth I, several generations later. This proposed that the ‘Supreme Governor’ of the Church of England was not to be the Archbishop of Canterbury but the Monarch. It was a way of expressing the idea that the Church of England is the Church of the people of England. It was the people of England at prayer. ‘We hold,' said Richard Hooker, the great architect of this vision, ‘that… there is not any man of the Church of England but the same man is also a member of the commonwealth.’ 

If you are a citizen of England, you have a right to be also part of the Church of England – to have your children baptised (once the vicar is sure you know what you’re letting yourself and your child in for), your marriage solemnised, and your body buried in the national church. The Church - although in a local sense is gathered group of Christians who attend public worship - exists for the people of England, whether or not they go to church regularly or not. 

Because the Church of England is the church of the people of England, a much larger group of people need to be involved when an Archbishop of Canterbury is chosen. So far, there has been a wide period of consultation, involving the remarkable figure of 11,000 people who have given input – far more than most consultations of this kind. Moreover, the group that appoints the Archbishop is made up, not just of bishops, but lay people, priests, men, women, people representing the diocese of Canterbury, five representatives of the global Anglican Communion, others representing the national Church and so on.  

The Church of England in that sense, is no respecter of persons, and refuses to treat the Archbishop as a Pope or a CEO.

For Roman Catholics, the church centres much more around its bishops. So, when it comes to choosing their leader, it makes sense to simply put all the cardinals (the most senior figures in the Catholic Church) in a room until they come up with a name from among themselves. Anglicans have a much longer, messier, more democratic process. It is not an election by a majority vote from a small electorate quickly convened, choosing among themselves, but a process of listening to a wide range of voices, both inside and outside the church.  

Because he is not a pope, the Archbishop of Canterbury is in one sense, just another bishop (the next one may be a woman, but all Archbishops so far have been men). Yes of course, he’s an Archbishop, so higher profile than the others, but he is nonetheless a bishop who takes his place among the other bishops of the CofE. Archbishops of Canterbury are regarded with respect and honour by other CofE bishops and Archbishops around the worldwide Anglican Communion, as the (Arch)bishop of the first ‘Anglican’ church – Canterbury. Yet they have no legal jurisdiction at all outside England – or even outside their own Province of Canterbury in the southern half of England. He is not the ‘spiritual leader’ of Anglicans all over the world, like the Pope is for Roman Catholics.  

As such, to put it bluntly, his appointment must take its turn among all the others in the queue. The Crown Nominations Commission is made up of people for whom this is not their day job, who give their spare time to it, and who have a programme of episcopal appointments to be made - the next in the queue are St Edmundsbury & Ipswich and then Worcester.  Canterbury has to take its turn. To enable this one to jump the queue would be saying something that Anglicans have never said - that this role is much more important than any of the others and must be given special treatment. The Church of England in that sense, is no respecter of persons, and refuses to treat the Archbishop as a Pope or a CEO, without whom the church would fall apart. 

The reason the Church of England can survive without an Archbishop of Canterbury for a while, is because its life is not dependent on a central figure, a charismatic leader, or a head office which issues instructions for all the branches to obediently follow. That may work in McDonalds but doesn’t work in the Church of England. The life of the Church of England is in its parishes and dioceses, which carry on doing their thing, even when an Archbishop of Canterbury is not available.  

Of course, it might have been possible to speed it up a little. We have missed having an Archbishop speaking in to public life and providing a lead at the national level. But there are good reasons for taking time. And it’s not just inefficiency – it’s because the Church is made up of ordinary Christians, who all deserve a say – and that takes time.  

Celebrate our 2nd birthday!

Since Spring 2023, our readers have enjoyed over 1,000 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?

Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

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